Through the Lens: Amani Azlin
Capturing the human experience in fashion photography and collaboration through Project Underscore_
‘Through the Lens’ is a series that explores in detail images from fashion image-makers in Southeast Asia, shining a light on their creative and technical processes.
Image from Anaabu EID 2024: TERUS TUMBUH campaign. Image courtesy of Amani Azlin.
Amani Azlin Shah is a photographer and director based in Kuala Lumpur, Malaysia. Known for her cinematic style of photography, Shah has worked for fashion titles like Grazia Malaysia and L'Officiel Malaysia. She has also shot a portrait of Malaysian shoe designer Jimmy Choo for the Wall Street Journal, and directed a portfolio of films across the fashion and music industry.
Beyond her commercial work, she also finds time to exhibit personal works. At a recent showing at Cult Gallery in 2023, her mixed media piece ‘Right Hand in The Mud’ shows her depth of interest in image manipulation and expresses her authentic experience as a Malaysian. Just shy of thirty years of age, Shah has become the go-to person for thoughtful and poetic image-making in Kuala Lumpur and beyond. She also manages Project Underscore_, a creative collective.
Image from Anaabu EID 2024: TERUS TUMBUH campaign. Image courtesy of Amani Azlin.
Could you talk about your background? How did you start your photographic practice?
I was given a camera in my teenage years because I expressed how much I enjoyed taking photos. I have been shooting since then. It seemed like a fun personal passion project to constantly update my flickr page back in the day! I constantly looked up camera review videos on DPReview and watched tutorial videos on YouTube. Photography was pushed to the side for a while when I went to pursue a BA(Hons) in Graphic Media Design at London College of Communications, but I still brought my camera around to document everything around me.
Going to university showed me what independent and community based learning could be about. There were workshops and lessons, including outside the campus, which gave me confidence to learn new skills. I had to learn how to build relationships and market myself as a creative person and I became more independent through my years of studying.
The ideas and systems applied in graphic design influenced my approach to photography. Hierarchy, tactility, colour and composition in graphic design are theories I apply to my practice. For me, graphic design is a bridge for communicating ideas. On the other hand, I could use photography to tell a story that is more playful and personal. Once you learn the rules, it's easier to break them!
The first job I took was to shoot for a friend’s clothing label in Kuala Lumpur. I continued shooting for other friends while exploring Instagram as an alternative for a photography portfolio page. Over time, more and more of us started collaborating. The support from my friends was what pushed me to take photography seriously.
Image from Anaabu EID 2024: TERUS TUMBUH campaign. Image courtesy of Amani Azlin.
We would like to know more about your photo series, for the clothing brand Anaabu. How would you describe the project, and how did it initially come about?
Every year, I look forward to having conversations with my friends in fashion on the type of projects to pursue for the yearly Eid campaigns. This year, Anaabu reached out to me with their design approach and concept early, so it was easy for me to take what they shared as a starting point. It became the basis for the look and feel of the campaign.
For me, this year’s photo series was a dream to create because it was shot at their new physical store, so there was a lot to explore in terms of storytelling. I wanted this feeling of newness to be translated through the bare unfurnished rooms, to echo the movement between the models so there was a constant passing of energy and movement among them.
As always, it was a collaborative effort with Anaabu especially because they’ve put their heart into the designs. There was already a lot for me to work from. The connections among my crew, their team and the models of the day added to the overall feel for the campaign. I believe that to be a good photographer, I need to be a good communicator first and I'm grateful that we all have bonded over the idea of terus tumbuh, or growing continuously.
“The connections among my crew, their team and the models of the day added to the overall feel for the campaign. I believe that to be a good photographer, I need to be a good communicator first and I’m grateful that we all have bonded over the idea of terus tumbuh, or growing continuously. ”
Image from Anaabu EID 2024: TERUS TUMBUH campaign. Image courtesy of Amani Azlin.
What would you like to communicate through your photographs? Are there any specific elements that you would want people to pay attention to, and why?
Some keywords I held on to while directing the project were: wayang kulit, metamorphosis, change, connection and memory. For me, each still image I created embodied these words through movement, composition, colour, posture and lighting. We had a lot to cover for the day so there wasn’t much time to sit down and draft each image. It was much more efficient using these keywords to direct and try to consistently have the story unfold throughout the series.
My take on photography is collaborative. I included the same keywords in the final work to play with audience perception. Other than that, I'd say textures and tones were important in this particular series as well.
“Some keywords I held on to while directing the project were: wayang kulit, metamorphosis, change, connection and memory. For me, each still image I created embodied these words through movement, composition, colour, posture and lighting.”
What are some of your sources of inspiration when it comes to image making?
In terms of colouring and lighting, I enjoy looking at paintings for references. I think painters have the privilege of time to sit and study objects and visual perception for a living. I appreciate the work that goes into the practice, and wish to mimic it in my work. Other than that, I am surrounded by friends within the fashion industry and we are constantly consuming images.
Image from Anaabu EID 2024: TERUS TUMBUH campaign. Image courtesy of Amani Azlin.
Image from Anaabu EID 2024: TERUS TUMBUH campaign. Image courtesy of Amani Azlin.
Could you talk about the process of shooting for Anaabu? What were some of the challenges you faced during the photo shoot, and how did you solve them?
Time management is the most important aspect of a project. There are so many looks to fit into one day, so finding the balance between setting up for each scene and directing the models, liaising with the clients in between for approval, getting hair and makeup to have their time to do what they need to do. At the same time, I am also still fighting to get the shot. I try to invest in a producer or project manager who can assist me on set and get things moving.
Image from Anaabu EID 2024: TERUS TUMBUH campaign. Image courtesy of Amani Azlin.
How did you start the collective Project Underscore_ ? Who is part of the team and what is your role in it?
When the projects I worked on became bigger and more frequent, I decided it was time to rally the collaborators I usually worked with to establish a collective. The collective includes Sara Kong, our producer; Matthew Chow, our director of photography; and Shah Azman, our photographer. We all bring something different to the table.
Project Underscore_ allows us to sharpen our skills in a commercial setting. It also helps with negotiating with clients too as it represents the kind of work we are capable of. For my own independent works which are artistically driven, I use my name, so this separation of the personal and the commercial helps.
Image from Anaabu EID 2024: TERUS TUMBUH campaign. Image courtesy of Amani Azlin.
What do you hope to achieve with your practice in photography? Lastly, what plans do you have in store for your practice moving forward? Are there any projects that you are currently working on?
In an ideal world, I would like to constantly work on my photos as a means for personal storytelling without any commercial attachment. I would also like to have an understanding and connection with people that goes deeper than verbal communication.
In addition, it would be great to explore ideas through photography as a medium, with no other agenda attached. I am easily intrigued by things (read: distracted) and so I’d like people to look at my photos and just wonder. Question the image. Question the photographer. Look at everything and nothing… and feel.